You’ll rarely feel sure or completely comfortable with most endeavors. If you do, interrogate why because that’s how growth feels—off-kilter and magic, all at once. — Kamilah Aisha Moon, Touching the Masks
Diana Roig – Organic Flow http://ptbk.co/1cW3Te2
I’m afraid that if you look at a thing long enough, it loses all of its meaning. — Andy Warhol (via tierradentro)
The Guernica of the Civil Rights Movement:
American People Series #20: Die, Faith Ringgold’s epic, tragic version of Guernica updated for the Civil Rights era, was first shown at New York’s Spectrum Gallery in 1967.
After that, the painting—like most of the artist’s civil-rights themed works from that era—disappeared from view. It hadn’t been shown in decades when, in 2010, it joined “American People, Black Light,” a travelling survey of Ringgold’s ’60s paintings that began at the Neuberger Museum of Art. That show’s co-organizer, museum director Thom Collins, left to join the Miami Art Museum, where the show traveled later.
Now Die has returned to the institution for its reopening this week in its new incarnation as the Pérez Art Museum Miami.The painting, which remains in the collection of the artist, is part of “Americana,” an inaugural exhibition featuring works from North America, the Caribbean, and South America arranged in thematic groupings. Die is in the part called “Corporal Violence”; its neighbors are artworks by Sue Coe, Nancy Spero, Eugenio Dittborn, Miguel Ángel Rojas, among others–artists who, like Ringgold, work in the realm of uncomfortable truths.Faith Ringgold, American People Series #20: Die, 1967, oil on canvas.
Read more in 9 Art Shows to See After ‘12 Years a Slave,’ at artnews.com
COURTESY ACA GALLERIES, NEW YORK.
The Last Judgement, Alex Gross, 2007
Nothing truly innovative, nothing that has advanced art, business, design, or humanity, was ever created in the face of genuine certainty or perfect information. — Jonathan Fields in Maximize Your Potential (via creativesomething)
Artist: Adisa Abeba
"For expatriates, straddling multiple cultural identities often presents a challenge. To authenticate my diaspora experience, I accept this space of neither here nor there, as it’s own unique hybrid culture or metaphorical bridge. Living in Nigeria is, in many ways, the missing chapter where all parts of my identity merge to add new dimension to an ongoing exploration of ‘home’. To safely navigate this sensory collision of familiar yet strange, spaces, memories, and cultures, I have invented an alter ego named Ada* the Alien. These drawings are a reflection of her layered experiences; living somewhere between reality and fantasy."